Colleges and universities have witnessed great shifts in student populations over the last few decades, including new populations of veteran and adult students. Now, as the traditional aged student continues to decline in numbers, one additional population of potential students appears to continue to grow: prison inmate students. College prison programs include both credit programs and enrichment programs. Through programs such as Shakespeare Behind Bars, the recidivism rates have declined as the men and women in these programs discover empathy, a love of language, and the value of community. This panel will explore college prison programs.
In 2011, responding to a few famous men’s remarks that “women aren’t funny,” Tina Fey wrote, “It is an impressively arrogant move to conclude that just because you don't like something, it is empirically not good. I don't like Chinese food, but I don't write articles trying to prove it doesn't exist.”
In recent years, it has only become more difficult to argue the nonexistence, irrelevance, or inferiority of women’s comedy. This panel will explore the explosion in women’s comedy, including in novels, memoirs, stand-up, television series, and political commentary.
Call for Symposium Proposals: Ecosomatics
We are inviting contributions to a three-day residential symposium at the Pierce Cedar Creek Institute in Michigan (April 23rd to 25th2020), funded and supported by the University of Michigan (Departments of English, Dance, Theatre, National Center for Institutional Diversity, Initiative on Disability Studies, Graham Sustainability Institute and the Program in the Environment) in collaboration with the Black Earth Institute.
“Transsexualité, transidentité: un tabou français?” (“Transsexuality, transidentity: a French taboo?”). Such was the title chosen by the online French news magazine France Infoto illustrate an article published in 2015that discussed the lack of visibility transsexuals and transgender people still suffer from in French society.
In the wake of the recent Postcritical Turn in literary studies, a pall has been cast over suspicious modes of analysis. Eve Sedgwick famously sought to move away from the paranoid imperative towards a more reparative relation; Sharon Best and Stephen Marcus have proposed surface reading as an antidote to symptomatic methodology; and, more recent still, Rita Felski has underscored the banality of suspicious hermeneutics as a central premise in her circumscription of the limits of critique.
Puppets are a universal phenomenon that appears in all cultures. Varying in size from the miniscule to the
colossal, puppetry is of an enormous diversity: from rounded (the string puppet or the marionette, the
rod-puppet, the hand- or glove-puppet, the finger-puppet) to flat (the shadow-show, the toy or paper
theatre); from 'living' marionettes and bodies fastened to performers, to 'held' puppets (Japanese Bunraku
theatre), puppets come in all shapes and sizes. Performances involving puppets are no less variegated:
spanning art forms as diverse as folk theatre and élite entertainment, one only needs to recall eighteenthcentury
operas penned for puppets; Gordon Craig's non-naturalistic refashioning of the actor as a
Sanjukta Banerjee (York University)
Agata Mergler (York University)